John Malkovich’s Celestial Pop Cult: ‘Opus’ Exposed

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It can be challenging to grasp the peculiarity of celebrity worship from an external perspective. When someone ascends to fame so profoundly that they spark a genuine ‘craze’ centered on their artistic work, entire communities, even global societies, often find themselves captivated by their perceived genius. Frequently, we fail to scrutinize this situation and its potential consequences because we’re all swept up in the enchantment. Opus aims to address this issue, with filmmaker Mark Anthony Green presenting a reflection of this spectacle right from the film’s opening scenes. As we watch people of various ages and backgrounds enthusiastically dance to a popular musician’s tunes in slow motion, it immediately seems absurd, bizarre, and slightly unsettling.

However, it’s not overly unusual. For years, fans have been known to swoon, faint, and even die for brief encounters with their favorite celebrities. Consider Elvis or The Beatles, more recently Taylor Swift or Beyoncé. What sets Opus apart (one of the factors) is that we’re not enmeshed in this specific frenzy, allowing us a unique perspective to observe just how peculiar it truly can be.

Building a Fictional Cultural Phenomenon

As a devoted cinema enthusiast, I find myself captivated by the enigmatic character portrayed by John Malkovich – Alfred Moretti, a figure who seems to be an extraordinary amalgamation of iconic artists such as David Bowie, Elton John, Bob Dylan, Madonna, Liberace, Andy Warhol, and Michael Jackson. It’s puzzling to decipher which, if any, of these legends he resembles most. Perhaps, he embodies them all in his unique way.

In this universe that appears strikingly similar to ours, they boast a cultural icon as influential as Moretti, yet unfamiliar to our ears. The influence and reverence accorded to Moretti in their world are akin to religious devotion.

Opus poses an intriguing question: What if Bob Dylan or Madonna, instead of evolving their craft and embracing fame, chose a darker path? Imagine Dylan disappearing for decades to create a secret cult, or Madonna transforming into a Bond villain after founding a religion. These scenarios are playful yet thought-provoking. The narrative explores the damaging aspects of our fascination with stardom, delving not only into fleeting fame but also the notoriety that follows genuine, transcendent talent.>

Today’s important term, vividly illustrated in the movie, is sycophant. Characters portraying sycophants are evident among Moretti’s devotees and admirers, yet Mark Anthony Green’s script subtly suggests that we all might unwittingly become sycophants when faced with figures like Moretti. In debates about the greatness of controversial artists such as Michael Jackson or Roman Polanski, it seems we possess a knack for overlooking their questionable actions and focusing instead on their talent.

John Malkovich Is a Cult Leader You’d Want to Follow

John Malkovich fits the role of Moretti exceptionally well, making it evident why Charlie Kaufman chose him for the iconic 1999 film “Being John Malkovich.” In “Opus,” Malkovich convincingly portrays a man who is undeniably talented, singularly unique, and undoubtedly eccentric. However, “Opus” isn’t solely about Moretti; it also tells the story of Ariel Acton (played by Ayo Edbiri), a young journalist who aspires to write a novel rather than focusing on famous individuals.

As a devoted fan, I stumbled upon an intriguing YouTube video from the agent of my beloved artist Moretti (played by Tony Hale), revealing that he’s back after a lengthy break with a fresh album. Eagerly, I accepted his invitation to an exclusive event at his compound, where I found myself amidst a select group of influential figures in the music world. Alongside my boss, Stan Sullivan (Murray Bartlett), I mingled with an influencer (Emily Katz), a dynamic TV journalist (Juliette Lewis), a seasoned paparazzi (Melissa Chambers), and a somewhat cranky podcaster (Mark Siversten).

Ariel doesn’t fit with this group, and it’s unclear why she was asked to join. Stan thinks she should just be grateful for the invitation and jot down notes for his major article. However, Ariel finds the group’s strange behavior intriguing and plans to write a second piece about their beliefs, which they refer to as “levelism.” She is inquisitive, meticulously observant, and seems to see things more clearly than the others who are deeply involved in Moretti’s worship. This may be part of a sinister plan.

The Story of Caesar’s Request

In the album titled “Caesar’s Request“, the film’s central characters, Moretti and Ariel, find an intriguing interpretation of the title. This is one instance where the movie seems rather straightforward in its symbolism. The narrative we see in the film revolves around the capture of a young Caesar by pirates, who he famously made increase his ransom. His friends eventually paid this ransom, and later, Caesar sought revenge on all the pirates by killing them.

In the film, there are intriguing aspects not fully explored in the story, such as the friendship that developed between the 25-year-old character named Caesar and his captors who were pirates. While he was held captive, Caesar often promised them that upon his release, he would seek revenge by killing every one of them. The pirates apparently found this talk amusing, seeing him as just a jovial prisoner. The tale holds a resemblance to the old fable of the scorpion and the frog, and the details omitted in the movie Opus actually strengthen its connection to cautionary tales about getting too close to such individuals.

As Ariel’s queries delve deeper, responses grow progressively eerie and behaviors escalate from unsettling to downright dangerous and violent. The narrative climaxes in a chilling scene featuring the most haunting children’s puppet show imaginable, detailing the tragic existence of musical prodigy Billie Holliday. In Opus, metaphors are applied liberally and with little finesse.

The movie has issues due to certain implausible events and scenarios that occur, which some viewers might find believable because of celebrity influence. Others may think it’s bordering on the absurd. The film attempts to strike a balance between humor and seriousness, but occasionally veers too much into one or the other, making it less effective in both areas. Additionally, the intricate plot behind the events during this exclusive retreat is difficult to accept, especially upon closer examination.

‘Opus’ in Our Time

The film Opus, fittingly arrives at an opportune moment. Going beyond its exhilarating, chilling, and ironically dark comedy, it raises significant questions that resonate today. Notably, the current U.S. President rose to prominence long ago as a cultural icon. Despite not being accomplished or artistically gifted, he commands a devoted following often referred to as a ‘cult of fame.’ He is essentially a byproduct of a society that adores entertainers and unquestioningly purchases any product peddled by a famous charlatan. Additionally, our cinemas are consistently filled with biopics, particularly those centered on beloved musicians.

In essence, we are grappling with the question: Why do we continue to idolize celebrities and artists, even when their actions may be morally questionable or downright evil? Time and again, we tend to excuse or forgive such individuals for wrongdoings, as long as they produce extraordinary work. Is it acceptable to disregard alleged misdeeds of talented figures like Woody Allen or Pablo Picasso? Generally, the answer appears to be yes. In the face of discussions about ‘cancel culture,’ it seems that no matter what transgressions an individual has committed, there is a path back into public acceptance.

It appears that Moretti holds the view that a great artist serves as the crucial factor in shaping our species’ destiny and leadership. Given his status within his religion (levelism), it is hardly surprising that he feels this way. After all, prolonged worship can have profound effects on individuals. The film Opus, set to be released by A24 on March 14, 2025, offers a tantalizing glimpse into such circumstances.

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2025-03-14 20:17